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Yes, this is posted in the correct thread, despite the source being a YouTube “video.” In reality, there is nothing to watch except a photo of the conductor. After listening to the San Diego Opera’s performance, I share the opinion of OL members who consider this work underappreciated. The music is wonderful and there is plenty of drama – even if, as in the case of Donizetti’s Anna Bolena, certain plot elements are not historically accurate. In this instance, the librettist has invented a love affair between Anne and the Spanish envoy, Don Gomez de Feria, complete with an incriminating letter from the lady that comes into the possession of Queen Katharine. I’m usually not fond of operas sung in translation, but with Sherrill Milnes in the title role, I wouldn’t care if this had been sung in Martian. Were a commercial recording available, I’d grab it – though one hopes the sound quality would be better than what was obviously an informal taping at the opera house. (The video of the performance in the original French, clips of which are also on YouTube, is on the to-be-purchased list.) There are also powerful portrayals of Katharine and Anne by soprano Cristina Deutekom and mezzo Brenda Boozer, while tenor Jacques Trussel generally acquits himself honorably as Don Gomez – his high notes are on target, but occasionally, there’s a bit of strain perceptible. The role of Katharine is full of gripping scenes with wonderful music and would be a real plum for a top-notch lirico-spinto soprano, which again makes me wonder why this opera isn’t more popular.

I know you've all been on pins and needles, but fear not. Your long wait is over: my verdict is in.

I'm still getting to know this opera, but already, in comparing the two versions on my shelf, I can announce a clear winner. The more recent recording, besides having better sound, strikes me as much more lively and engaging, led by Plasson's evocative conducting and Dessay's nuanced, sensitive portrayal of the young heroine.

So all of you agonizing over which Lakmé to buy can finally set your minds at ease.

I'm still getting to know this opera, but already, in comparing the two versions on my shelf, I can announce a clear winner. The more recent recording, besides having better sound, strikes me as much more lively and engaging, led by Plasson's evocative conducting and Dessay's nuanced, sensitive portrayal of the young heroine.

So all of you agonizing over which Lakmé to buy can finally set your minds at ease.

Absolutely agree 100%

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Originally Posted by MAuer

Saint-Saëns: Henry VIII
(The video of the performance in the original French, clips of which are also on YouTube, is on the to-be-purchased list.)

I know you've all been on pins and needles, but fear not. Your long wait is over: my verdict is in.

I'm still getting to know this opera, but already, in comparing the two versions on my shelf, I can announce a clear winner. The more recent recording, besides having better sound, strikes me as much more lively and engaging, led by Plasson's evocative conducting and Dessay's nuanced, sensitive portrayal of the young heroine.

So all of you agonizing over which Lakmé to buy can finally set your minds at ease.

Welllll. You didn't include this one - my favorite (I also own but don't really like the Sutherland all that much):

Yes! That's my go-to Barber of Seville! Once I heard that recording, I decided there's no reason to own another. Callas is Rosina.

She is wonderful in coloratura as are Peters and Gruberova, but I am more focused into the mezzo-sopranos and find Larmore and perhaps Bartoli (my set has not arrived so can't quite judge it) more to my liking. Really want an contralto but best I can get is an Ewa Podles aria CD with Una voce poco fa. For sopranos I think I favor Gruberova on the coloratura. And Sills is also a wonderful set. Well, I like them all really. Have 11 sets.

"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

Quite, but Scotto less than charming when you can't see her acting to compensate for the rather acidulous tone of her voice. The boys both very fine (Gérard is actually the hero, isn't he, in that he is the more interesting character).

Quite, but Scotto less than charming when you can't see her acting to compensate for the rather acidulous tone of her voice. The boys both very fine (Gérard is actually the hero, isn't he, in that he is the more interesting character).

Yes, her vocal quality, particularly in the upper notes, has always been criticized. On the other hand, I admire her purely vocal acting as Desdemona in the Otello recording--also with Levine, Domingo, and Milnes--from a year after the Andrea Chenier. So I look forward to checking out this one as well.